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When it comes to embracing and loving our bodies, seeing more and more size diversity in the fashion industry is an amazing first step. But photographer Substantia Jones thinks we need to get even more real. Her artistic, unretouched, mostly nude photos of people she prefers to simply call "fat" fully expose all the soft curves, ripples, and layers we've been taught to hide, fear, and judge—and suddenly, it's hard not to see them as beautiful. Click on to read more about her empowering photo series, the Adipositivity Project.
Jones calls her photo series The Adipositivity Project , which combines the words "adipose" (of or relating to fat) and "positivity" to convey her goal: to demystify and celebrate the larger bodies we rarely see portrayed as attractive or sensual or even just normal. She sees photography as the ideal medium for doing this. "I dig using photography to nudge people—particularly fat people—into realizing they’re fine just the way they are," Jones says. "I can tell them that ‘til I’m blue in the face, but taking a picture and showing them is far more effective. And beautiful."
"I’ve always been loud about social justice, and I’ve been fat since my twenties," says Jones, who launched the project in 2007. "At the time, I thought I’d change the attitudes of the general public about the aesthetic validity of fat women, 'one fat fanny at a time,'" she says.
However, a different target audience quickly came into focus. "Once folks began responding to the photos, I realized there was a tremendous amount of body shame out there, and the people who needed this project weren’t the unenlightened, but rather fat people themselves," Jones says. "My goal now is very much about them."
Not only are Jones' photos honest and unretouched, diversity is a priority, in every sense of the word. "'Adiposers' come from a variety of backgrounds, genders, races, abilities, sexual preferences, and all sizes of fat," Jones says of the people who model for her.
About that word fat. Jones deliberately uses it in lieu of more popular terms. "The word fat is a morally neutral descriptor. I use it, and I encourage others to," she explains. "I am fat. Overweight, however, is a term of judgment, suggesting there’s an agreed-upon size beyond which one mustn’t exist. And obese pathologizes a naturally occurring point on the spectrum of benign human size variation. Lots of well-meaning folks use words like overweight and obese, but they are not without consequence."
So who are these brave models? "Once in a while I’ll approach someone about posing, but that’s rare," Jones says. "Most contact me, asking to participate. Posing nude—or nearly so—in such a high-profile way is a bold move, and I’d never want to talk someone into it. I lean closer to trying to talk them out of it. I have them read a long list of all the unpleasant things they may have to endure as a result of posing," Jones says. "Ridicule, violent threats, unwanted sexualization. But I also tell them there’s someone out there waiting to see a body that looks like theirs, presented proudly and without shame."
One recent work Jones loves is this photo of yogi Jessamyn Stanley . "The big, imposing building visible through the windows appears to be aggressively encroaching, but somehow halted by this solitary human, simply being calm and meditative," Jones says. "A David and Goliath thing. I learn something new about life every time I look at it."
A New Yorker who grew up in Southeastern Virginia, Jones also works as a radio producer and host. "I’ve been a photographer for as long as I can remember," she says. "I quit for a while when I moved to New York [in 1997] and no longer had a darkroom, but picked it up again when digital cameras became popular. That was one of the factors which ultimately led to the launch of the Adipositivity Project."
Of course, releasing such boundary-pushing images into the wilds of the Internet requires bravery on Jones' part, not only her models'. "I hear it all. Everything from, 'This is the first morning in memory I’ve not cried about my body,' to 'Why don’t you go kill yourself?'" Jones says. "I’ve seen web forum discussions of how best to kill me. And worse. And better. They all keep me at it. Even the haters. Maybe especially the haters. Thanks, haters!"
Jones' photos definitely feel defiant, and not just toward those haters. They offer an alternative viewpoint in a world of highly manufactured images of a certain type of woman. "Photography is a tool of immeasurable importance for what I call the angst industrial complex," Jones says. "So I get an extra kick out of subverting that tool and using it to push back against efforts to make us—all of us—feel bad about ourselves."
Her photos convey that bodies of all sizes and shapes are deserving of love and admiration—and they give pause to the nonstop messages that you can't be truly happy until you're at "goal weight." "If we relax, if we do nothing, the weight-loss industry will continue unchecked. I won't let that happen," Jones says.
"I want people to love their bodies and allow others to love their own. Simple as that."
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